Peace No Less Than All Parts of this Earth, Machine and Hand Embroidery, Stitched Collaged Art TextileArt Textile

Southern Ocean, pastel on paperI love our southern ocean, it has so much power and can come tumbling in from the Antarctic regions with a great deal of force behind it in rough weather. This was a moment of standing on the beach, almost ready to turn and climb up the steep steps and go home on a day at the end of Summer, as the weather changed from hot and calm to cool and windy. The tide came in and covered the reef that can usually be seen from the beach. It is a favourite fishing spot near Beachport in South Australia. It is a section of what has been a treacherous coast line with many shipwrecks scattered all the way along to Queenscliff in Victoria. I took many images, made some sketches and felt it had to be a pastel drawing. I wanted the strength of the pigment and my drawing and the blending of these pigments to allow the ocean to move towards me rather than brushstrokes which seemed distracting to me. Clouds and the changing sky continue to fascinate me and I find myself being more influenced from researching Constable and Turner than I would have expected I would be not that many years ago. The paper is rich apricot to add the warmth of the late Summer change. It has been very hot day with a strong sudden cold front coming. This work is matted and framed in simple white grain board with washed white wooden frame. the most common comments from people viewing it is that there is a real sense of the ocean moving toward them.

Stories of Red, Colour Intervention Art Installation

Broken Soul, Machine Stitched Drawing and Hand Embroided Art Textile
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This work was a response to mental health issues, because I have heard much about the affects of mental health over the last few years and it is an issue that has become very topical for our region, as it has throughout developed societies. The free motion machine drawing is based on a pen and ink life drawing I had done on paper. I translated this drawing freely by observing my original work on the wall in front of me. The original drawing is on a full size A1 drawing paper and so this had to be a spontaneous transcription. It is also done without taking the needle out of the fabric, it is continuous line work, so a true drawing in every sense. The thread and needle become my drawing tool and fabric becomes my canvas. This drawing was first completed using my machine, then painted and hand embroidered and silk appliqué added in a collage technique. My idea was about the soul becoming broken by having to cope with the impact of behaviour and the consequences from those you love with mental health problems. This is why I have not completed the full figure in machine stitching and used hand stitches to emphasise the thought of being broken apart. The blue is symbolic and represents the grief this person is feeling. There are fragments of appliquéd and collaged silk georgette to represent the fragile state that this person is trying to cope with. I have hinted through my drawing that this is a woman (and my original life work is of a woman) because it is generally women that suffer most from this grief. A viewer may interpret this in a number of ways, it is very contemplative and soul searching work. It could be that this person has lost a love one and is grieving, or has to face something very difficult. I have also intended that there is hope in that the machine stitching is in black thread, strong and deliberate and that although this image is of a Broken Soul there is an intention through strength that she will survive and be strong. It is the moment that some or many of us have felt, that we can no longer go on we feel broken and exhausted, and then something seems to pull us through and we survive. The work is then stretched and laced using linen thread and backed and mounted before framing

Mount Muirhead, Ancient Volcano, Millicent South Australia, Pastel on Paper
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I have always used the nickname 'Bald Hill' for this this small mountain, as it has no trees on it until almost ground level, and it stands out to me when I drive back to Penola from Millicent. I am intrigued by the light and shadow play depending on the season and the time of the day and have often stopped to observe. It always seems to be very mysterious to me and I was intrigued but not surprised, to learn of the very ancient stories connected to to it. This pastel drawing came from a very warm afternoon and the shadows were dense. It is an ancient volcano and is connected to the stories of the Boandik people, the first inhabitants and original owners of this region. The story tells is that It was the campsite oven spoken about in their Graitbul creation stories. This work is the beginning of a planned future textile series on this legend and the volcanic history of this region, often overlooked because of the higher profile of Mount Gambier. It is pastel on apricot pastel paper and is professionally framed with a rustic timber moulding and wide matte board under glass.

Bridge at Ross, Tasmania, Machine and Hand Embroidered Art Textile

Book Cover Detail, Mixed Media and Stitched Art Textile

Outer Hills of the Flinders at Dawn, South Australia, Mono Print and Mixed Media on Paper

Walking the Back Streets of RomeAltered black and while image hand coloured

Featherstone Chair Digital Art from Original Drawing

Day Out, Summer Palace, Beijing

Stitched Red Pear

On the Road, Flinders Ranges, South Australia, Digital Art

Moss Covered Branch, Tasmania

Indian Green Pear on Red Oxide Digital Art from Original Paiting

Waterlilies Angkor Wat, Cambodia

Start of a Joyful DayMixed Media art textile. Layers of vintage fabrics, lace and pieces from music sheets have been added then free motion embroidery and hand embroidery for detailing. This work was created to appear like an illustrated page from a story book.